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The Evolution of Pace in Popular Movies James E Cutting Cognitive Research: Principles and Implications (2016) 1:30 Cognitive Research: Principles DOI 10.1186/s41235-016-0029-0 and Implications ORIGINALARTICLE Open Access The evolution of pace in popular movies James E. Cutting Abstract Movies have changed dramatically over the last 100 years. Several of these changes in popular English-language filmmaking practice are reflected in patterns of film style as distributed over the length of movies. In particular, arrangements of shot durations, motion, and luminance have altered and come to reflect aspects of the narrative form. Narrative form, on the other hand, appears to have been relatively unchanged over that time and is often characterized as having four more or less equal duration parts, sometimes called acts – setup, complication, development, and climax. The altered patterns in film style found here affect a movie’s pace: increasing shot durations and decreasing motion in the setup, darkening across the complication and development followed by brightening across the climax, decreasing shot durations and increasing motion during the first part of the climax followed by increasing shot durations and decreasing motion at the end of the climax. Decreasing shot durations mean more cuts; more cuts mean potentially more saccades that drive attention; more motion also captures attention; and brighter and darker images are associated with positive and negative emotions. Coupled with narrative form, all of these may serve to increase the engagement of the movie viewer. Keywords: Attention, Emotion, Evolution, Film style, Movies, Narrative, Pace, Popular culture Significance understanding of movie structure and of movie cognition Experiments in cognitive psychology have shown us that (for example, Hasson, Mallach, & Heeger, 2010; Zacks, rapid changes in the visual field attract our eye move- Speer, Swallow, & Maley, 2010) continues to open a new ments and attention. This has been demonstrated many window onto the study of mental processes as they work times in the laboratory (see, for example, Theeuwes, 1991) continuously over spans of up to 2 h and more. and also when people watch movie clips (Smith, 2012). Many other laboratory studies have shown that motion Background also captures attention (see, for example, Franconeri & Simons, 2003), which has also been shown for people [E]very shade of feeling and emotion which fills the watching sections of movies (Mital, Smith, Hill, & spectator’s mind can mold the scenes in [a movie] Henderson, 2011). Still other controlled studies have until they appear the embodiment of our feelings.… If shown that we have positive associations to brightness and this is the outcome of esthetic analysis on the one negative associations to darkness (Valdez & Mehrabian, side, of psychological research on the other, we need 1994), a finding also found for people watching short only combine the results of both into a unified movies (Tarvainen, Westman, & Oittinen, 2015). Rapid principle: the [movie] tells us the human story by transients (cuts), motion changes, and luminance changes overcoming the forms of the outer world, namely, have been endemic to movies for a century, and they are space, time, and causality, and by adjusting the events components of what film editors call pace. Nonetheless, it to the forms of the inner world, namely, attention, has taken most of that century for filmmakers to learn to memory, imagination, and emotion. fashion their tools of film style, creating a film form that couples these three physical changes (and their Hugo Münsterberg (1916, p. 74, italics in the original)1 psychological implications) to narrative structure. A better Movies, psychology, and pace Correspondence: [email protected] Department of Psychology, Cornell University, Uris Hall, 109 Tower Road, Ithaca, As a psychologist, Münsterberg was overwhelmed by NY 14853-7601, USA movies, but so were the increasingly large audiences that © The Author(s). 2016 Open Access This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. Cutting Cognitive Research: Principles and Implications (2016) 1:30 Page 2 of 21 viewed them in the 1910s. Moreover, throughout the the movie selected from among the panoply of possibil- intervening century, movies have never lost their grip on ities within film style. popular culture, and, with mobile technologies, they Fabula is the Russian Formalist term for the underlying have become more prevalent than ever. The British Film story. The most common other terms used in this context Institute (2012, p.141) estimated that the average citizen are narrative (Bordwell, 2008) and, of course, story (Chat- in the United Kingdom sees more than 80 films per year. man, 1980). Story and narrative are perfectly acceptable syn- Although this estimate seems overly enthusiastic, it be- onyms, so I will use them here as well. The fabula is all speaks an impressive penetration of film media into about content. Importantly, just as the art of writing a novel everyday life. Popular films have become mind candy. is in the conversion of ideas into words on a page, Shklovsky In addition, few art forms have changed as much as suggested that the art of filmmaking is in the conversion of movies over the last 100 years. Some of the literature ad- the fabula into the syuzhet (Schmid, 2010, p. 178). dressing this change has focused on technology (see, for Pace and rhythm are both words used in discussions example, Salt, 1992), and there are numerous textbooks of editing. They are difficult to distinguish, so I won’t try and monographs that have traced cultural, economic, and instead will focus mostly on pace. D. W. Griffith, and political changes from the silent era to the present the esteemed early American filmmaker, may have been (see, for example, Christiansen, 1987; Kelley, 1998; first to discuss pace in the context of movies. “For its Kolker, 2006; Thompson & Bordwell, 2010). There are ability thus to lift its patrons out of commonplace exist- also treatments of the changes in physical attributes of ence, and bear them hither and yon on Bagdad [sic] car- movies, both qualitative (Bordwell, 2006) and quantita- pets to realms of adventure and romance, the [movie] tive (Bordwell, Staiger, & Thompson, 1985; Cutting, depends upon pace” (Griffith, 1926, p. 28). Beyond this DeLong, & Brunick, 2011; Cutting, DeLong, Brunick, Iri- flowery prose and other than some concrete suggestions cinschi, & Candan, 2011). Heretofore, however, there about shot duration and some oblique references to mo- have been no treatments of the psychologically relevant tion, Griffith was a little vague about what he meant by changes in these variables as they are arrayed over the pace. Pearlman (2009, p. 47) added clarity. She suggested length of entire films. This article considers three dy- that pacing refers “to three distinct operations: the rate namic patterns that are now meshed with psychological of cutting, the rate or concentration of movement or principles of attention and emotion. Before addressing change in shots and sequences, and the rate of move- them, however, let me establish some important terms ment or events over the course of the whole film.” These from the filmmaking and film studies literatures that are tasks of editing all entail manipulations of the syuzhet. pertinent to this discussion. Bordwell and Thompson (1997, p. 197; see also Polking, 1990, p. 304) drew an analogy between pace in film and tempo in music. Tempo, of course, is about time and tim- Terms ing, but it is also more. The musical tempo marking of al- Film style is the collection of all aspects of the craft of legro means “fast, quickly, and bright”;thatofvivace making movies. Filmmakers make choices about editing means “lively and fast”; and these can be modified with con (varying the length and ordering shots), staging (position- fuoco (“with fire”)andotherswithmisterioso or agitato and ing actors in front of the camera and controlling the setting dozens more. As Rao (2011, p. 17) noted, “[T]empo has behind them), framing (how much of the actors versus the three elements: rhythm, emotion, and energy.” Applied to background can be seen in the image, called shot scale), movies, Rao’s notion would be that pace might be reflected sound (controlling conversation, background noise, sound in the temporal pattern of shot durations and in the energy effects, and diegetic versus nondiegetic [background] reflected in a measure of motion – both part of Griffith’s music), camera motion, lighting, focus, color, and more. (1926) and Pearlman’s (2009) analyses – but also reflected Syuzhet is the Russian Formalist term (Bordwell, 1985; in measures relevant to emotion, the aspect of film extolled Shklovsky, 1925/1990) for the surface form of a movie – most by Tan (1996) and by Murch (2001). the particular lighting, sounds, and other aspects of film Murch (2001) strongly endorsed the centrality of emo- style that have been chosen and used over the course of tion to editing. An Academy Award-winning editor and a particular movie. Other terms used for this notion are sound designer, Murch suggested that the foremost con- plot (Barsam & Monahan, 2013), discourse (Chatman, sideration in editing is that every shot must be true to 1980), and narration (Bordwell, 2008), but I find that the emotional force of the narrative. This allegiance each of these can lead to confusion – plot can imply syn- takes precedence over advancing the story, rhythmic opsis and ignore film style, discourse can imply just the considerations, or any concern with other attributes of spoken language, and narration can imply a narrator. film style. I focus here on one particular aspect of film None of these implications is intended here.
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